When Clarke Met Kubrick

Note: To celebrate the fiftieth anniversary of the release of 2001: A Space Odyssey, which held its premiere on April 2, 1968, I’ll be spending the week looking at various aspects of what remains the greatest science fiction movie ever made.

“I’m reading everything by everybody,” Stanley Kubrick said one day over lunch in New York. It was early 1964, and he was eating at Trader Vic’s with Roger A. Caras, a wildlife photographer and studio publicist who was working at the time for Columbia Pictures. Dr. Strangelove had just been released, and after making small talk about their favorite brand of telescope, Caras asked the director what he had in mind for his next project. Kubrick replied that he was thinking about “something on extraterrestrials,” but he didn’t have a writer yet, and in the meantime, he was consuming as much science fiction as humanly possible. Unfortunately, we don’t know much about what he was reading, which is a frustrating omission in the career of a filmmaker whose archives have been the subject of so many exhaustive studies. In his biography of Kubrick, Vincent Lobrutto writes tantalizingly of this period: “Every day now boxes of science fiction and fact books were being delivered to his apartment. Kubrick was immersing himself in a subject he would soon know better than most experts. His capacity to grasp and disseminate information stunned many who worked with him.” Lobrutto notes that Kubrick took much the same approach a decade later on the project that became The Shining, holing up in his office with “stacks of horror books,” and the man with whom he would eventually collaborate on 2001 recalled of their first meeting: “[Kubrick] had already absorbed an immense amount of science fact and science fiction, and was in some danger of believing in flying saucers.” At their lunch that day at Trader Vic’s, however, Caras seemed to think that all of this work was unnecessary, and he told this to Kubrick in no uncertain terms: “Why waste your time? Why not just start with the best?”

Let’s pause the tape here for a moment to consider what other names Caras might plausibly have said. A year earlier, in his essay “The Sword of Achilles,” Isaac Asimov provided what we can take as a fairly representative summary of the state of the genre:

Robert A. Heinlein is usually considered the leading light among good science fiction writers. Others with a fine grasp of science and a fascinatingly imaginative view of its future possibilities are Arthur C. Clarke, Frederik Pohl, Damon Knight, James Blish, Clifford D. Smiak, Poul Anderson, L. Sprague de Camp, Theodore Sturgeon, Walter Miller, A.J. Budrys…These are by no means all.

Even accounting for the writer and the time period, there are a few noticeable omissions—it’s surprising not to see Lester del Rey, for instance, and A.E. van Vogt, who might not have qualified as what Asimov saw as “good science fiction,” had been voted one of the top four writers in the field in a pair of polls a few years earlier. It’s also necessary to add Asimov himself, who at the time was arguably the science fiction writer best known to general readers. (In 1964, he would even be mentioned briefly in Saul Bellow’s novel Herzog, which was the perfect intersection of the highbrow and the mainstream.) Arthur C. Clarke’s high ranking wasn’t just a matter of personal affection, either—he and Asimov later became good friends, but when the article was published, they had only met a handful of times. Clarke, in other words, was clearly a major figure. But it seems fair to say that anyone claiming to name “the best” science fiction writer in the field might very well have gone with Asimov or Heinlein instead.

Caras, of course, recommended Clarke, whom he had first met five years earlier at a weekend in Boston with Jacques Cousteau. Kubrick was under the impression that Clarke was a recluse, “a nut who lives in a tree in India someplace,” and after being reassured that he wasn’t, the director became excited: “Jesus, get in touch with him, will you?” Caras sent Clarke a telegram to ask about his availability, and when the author said that he was “frightfully interested,” Kubrick wrote him a fateful letter:

It’s a very interesting coincidence that our mutual friend Caras mentioned you in a conversation we were having about a Questar telescope. I had been a great admirer of your books for quite a time and had always wanted to discuss with you the possibility of doing the proverbial “really good” science-fiction movie…Roger tells me you are planning to come to New York this summer. Do you have an inflexible schedule? If not, would you consider coming sooner with a view to a meeting, the purpose of which would be to determine whether an idea might exist or arise which could sufficiently interest both of us enough to want to collaborate on a screenplay?

This account of the conversation differs slightly from Caras’s recollection—Kubrick doesn’t say that they were actively discussing potential writers for a film project, and he may have been flattering Clarke slightly with the statement that he had “always wanted” to talk about a movie with him. But it worked. Clarke wrote back to confirm his interest, and the two men finally met in New York on April 22, where the author did his best to talk Kubrick out of his newfound interest in flying saucers.

But why Clarke? At the time, Kubrick was living on the Upper East Side, which placed him within walking distance of many science fiction authors who were considerably closer than Ceylon, and it’s tempting to wonder what might have happened if he had approached Heinlein or Asimov, both of whom would have been perfectly sensible choices. A decade earlier, Heinlein made a concerted effort to break into Hollywood with the screenplays for Destination Moon and Project Moon Base, and the year before, he had written an unproduced teleplay for a proposed television show called Century XXII. (Kubrick studied Destination Moon for its special effects, if not for its story, as we learn from the correspondence of none other than Roger Caras, who had gone to work for Kubrick’s production company.) Asimov, for his part, was more than willing to explore such projects—in years to come, he would meet to discuss movies with Woody Allen and Paul McCartney, and I’ve written elsewhere about his close encounter with Steven Spielberg. But if Kubrick went with Clarke instead, it wasn’t just because they had a friend in common. At that point, Clarke was a highly respected writer, but not yet a celebrity outside the genre, and the idea of a “Big Three” consisting of Asimov, Clarke, and Heinlein was still a decade away. His talent was undeniable, but he was also a more promising candidate for the kind of working relationship that the director had in mind, which Kubrick later estimated as “four hours a day, six days a week” for more than three years. I suspect that Kubrick recognized what might best be described as a structural inefficiency in the science fiction market. The time and talents of one of the most qualified writers imaginable happened to be undervalued and available at just the right moment. When the opportunity came, Kubrick seized it. And it turned out to be one hell of a bargain.

3 Responses

Clarke was the pre-eminent technological SF writer of the time. He had published books like _Interplanetary Flight: An Introduction to Astronautics_ long before. He would have promised a rigour that a “proverbial good” movie would need. Yet he had also done the big themes, like Childhood’s End and The Sentinel.

Do you think Clarke being English mattered, given Kubrick’s declared love for the country? Aldiss, who provided the kernel of AI, was also an English author.